Jessica Steinhäuser’s kachelofen are currently on display at the Canadian Clay and Glass Gallery.

The reluctant artist

By Bob Vrbanac, Chronicle Staff

Jessica Steinhäuser struggles with people who describe her as an artist, even though there’s evidence to the contrary at the latest exhibit at the Canadian Clay and Glass Gallery.

Her exhibit of four kachelofen — massive ceramic woodstoves — make a stunning visual impact in the gallery and challenge the perception of form just following function.

But she has a hard time convincing herself she is an artist, even with the endorsement of a national gallery like the one in Waterloo. In her native Germany, working as a potter was considered a trade.

And when she was diagnosed with dyslexia in Grade 3, she decided that working with her hands was something that would be a big part of her future. So she started her apprenticeship at 18, and learned the skills that come with being a potter.

“I knew that I had to do a trade more than anything, and I knew that this was my route in life,” said Steinhäuser. “It was more trade than art — the art comes later.

“I would never have called myself an artist then, and even now I would call myself a potter not an artist.”

But that is changing for the Guelph-based “artist,” who runs Stonehouse Pottery, and admits that keeping the more than 500-year old tradition of kachelofen alive has been an all-consuming one.

While the traditional heat source used in European homes from Poland to the Balkans hasn’t made great inroads in North America, there are stunning examples still present in Germany and they are still sought after for their ability to burn four or five small logs for a whole day while heating the home and hearth.

Frederick the Great of Prussia once even staged a competition to find the oven that could burn the least amount of wood, and the ceramic ovens are still one of the most efficient heat sources in the world. The secret is the ceramics that keep the fire radiating while never letting the exterior get too hot to the touch.

“During my apprenticeship in 1985, we learned how to make one of the bricks and since then I’ve always wanted to build them,” said Steinhäuser.

It has become her passion to reimagine both the colour and composition of the ceramic ovens, and has earned her an international following. She has become the go-to person on this side of the Atlantic for the design, build and installation of these massive works of art and has received commissions from all over the continent.

“You see very simple ones now that have simple lines, and in some ways I think are very ugly,” said Steinhäuser. “The antique ones are just phenomenal with sculptures on them — it was amazing what they could do with them.”

One of those antique kachelöfen on display at the Clay and Glass Gallery serves as a source for her inspiration. But it’s the ovens she’s designed herself that embody the notions of modern art.

Most of her kachelofen building has been self-taught. Nobody knew how to build them in Canada when she immigrated in 1988, and she didn’t think that a lot people would believe in the green benefit and the arts value these pieces could add to their homes.

“It took a lot of trial and error just to teach myself,” said Steinhäuser. “Then to find someone to install them, there’s not really anybody in North America, so now I install with a guy from Austria who comes over for each installation.”

But she persisted, even after it left her on the brink of financial ruin before a timely arts grant helped her finally realize her vision.

“It’s been a seven-year struggle,” said Steinhäuser. “Being a production potter with this huge project on the side, something had to give.”

But with North America acting as a clean slate, she’s also been able to help define the art form for this market and she’s excited that people are finally starting to get it. She’s a recent Premier’s Awards for Excellence in the Arts nominee.

“It’s great that I can tell people what I think is pretty,” said Steinhäuser. “To be honest, I would have a hard time to build a real ugly one, but one of my strength and where I do come in with the art.

“My gift is that I can make it fit their home and I’m able to make an arts piece that heats the home.”

And after scratching and clawing to get that recognition, she’s happy her work is also on display in a way that many more eyes can see it than just the personal commissions that she’s done.

“I wanted to show people that these could be truly arts pieces so I made a canvas and collaborate with Ryan Price to do the drawings on the oval one,” said Steinhäuser. “Then I have one I call my Canadian kachelöfen where I stylized the maple keys and made the into a trim. When you look at it, the green kind of reminds you of maple keys when you look up into a tree.”

It is one of three new exhibits at the Clay and Glass Gallery featuring award-winning glass artist John Paul Robinson and and exhibit called Myth and New Function/Non-Function: Design as Exploration in the Shantz Gallery showcasing artists and designers at the forefront of modern design.

Being part of the exhibits featuring some well-known names has Steinhäuser finally softening her stance on calling herself an artist.

“It’s a huge honour to be in a national gallery and such a respected one, especially as a potter to be part of such a great place,” she said. “I feel proud that I’ve finally made it, and it’s a big stamp of approval for sure and it will raise the awareness of these beautiful, functional pieces of art.

“I can see now how people can call me an artist, but can I call myself an artist? Probably not, but I’m from Germany where it’s about being more practical.”